It is obvious that, unless his remains were to be found, there are few things left to add to what is already known about the life and work of Federico García Lorca. Just as it has already been seen, separately, the use of each of the languages that will make up this spectacle: Lorca has been sung and danced, he has been acted upon on stage, and numerous documentaries and films based on his life have been recorded.

However, what is proposed with this spectacle is a different perspective, the nature of which is based precisely on the sum and conjugation of all these languages. This is its novelty and originality. The spectacle aims to show the spectator the nature of García Lorca‘s inner world, so that he becomes a kind of guide to better understand the poet who sang to life and death with the same intensity, thus encouraging him to better know his work, bringing him closer to his passion and contrasts.

In the development of the spectacle, fragments of the work recited should always be perceived as a natural consequence of what is narrated. On the other hand, the portrayal of the character seeks to focus less on the genius and try to approach the man, the human being. The intention is to gather in interviews, and in the overall narrative, the most basic personal, family, and social circumstances in Lorca, those traits that are most humanly identifiable, so that the spectator can easily empathize and understand Lorca’s genius personality through the most recognizable circumstances, motivations, and behaviors, without the figure of the globally recognized genius distancing him. A discourse that resorts to simplicity, that harmonizes with the simplicity of the staging and, at the same time, with its narrative density and restraint.